三十年前我们多半认为巴哈知名的A小调和E大调两首小提琴协奏曲都和布兰登堡协奏曲相同，是他在安哈特．科腾公国的里奥波德侯爵底下担任宫廷乐长的时期所写。不可否认，巴哈在风气开明的科腾宫廷（亲王本人不仅爱好音乐也是技术独到的音乐家）的确创作也演过不少给管乐和弦乐的协奏曲，只是大多数已经遗失。当中有部分后来被巴哈改编成大键琴协奏曲。不过关於这些改编作品的假设一直以来都争论不休。1985年，巴哈学者克里斯托弗．沃尔夫（Christoph Wolff, 1940-）首度提出A小调协奏曲并非为科腾宫廷所作，而是1730年左右为莱比锡的音乐协会（Leipzig Collegium Musicum）所写。不过一如研究巴哈经常遇到的情况，此一假说也未能提出强烈的证据，沃尔夫乃是根据现存来自此时期巴哈的A小调协奏曲演奏手稿推论而出。无论如何，我们也可以合理推测E大调协奏曲应该也是为音乐协会的音乐会而写。
1720年代韦瓦第写给小提琴与其他乐器的协奏曲风潮席捲整个欧洲，巴哈也未能置身其外。A小调协奏曲的一、四乐章都有韦瓦第惯用手法的影子。巴哈曾经改编A小调和E大调两首小提琴协奏曲给大键琴。唐纳德．托维(Donald Tovey, 1875-1940)以降的学者多半同意在A大调协奏曲BWV1055的最早原型其实是柔音管协奏曲，一种介於双簧管和英国管之间的中音乐器。本片的版本在独奏部分的音高虽然比其他协奏曲还要略低一些，却相当适合给小提琴演奏。
Ibragimova, Alina (violin) 艾莉娜．伊布拉吉莫娃 (小提琴) Arcangelo 阿尔坎杰罗合奏团 Cohen, Jonathan (conductor) 乔纳森．柯恩 (指挥)
商品条码 : 0034571280684
商品编号 : CDA68068
演奏者 : Alina Ibragimova - 查看所有专辑
作曲家 : 巴哈 Bach - 查看所有专辑
专辑名称 : 巴哈:小提琴协奏曲
Bach: Violin Concertos
音乐类型 : 古典音乐 [CD 协奏曲]
发行公司/日期 : 上扬
制作公司 : hyperion
内含片数 : 1
Conductor: Jonathan Cohen
Composer: J.S. Bach
Audio CD (November 13, 2015)
Number of Discs: 1
Release Date November 13, 2015
Recording DateAugust 8, 2014 - August 10, 2014
AllMusic Review by Blair Sanderson
Alina Ibragimova's interpretations of the violin concertos of Johann Sebastian Bach may be regarded as historically informed performances, though they are by no means the most extreme examples, considering that she plays a late 18th century instrument instead of a true Baroque violin, and her tonal quality is an appealing fusion of period practice and a warm modern sound, though without vibrato. More to the point of authenticity, Ibragimova infuses the concertos with an improvisational freedom that is true to Bach's time, and Jonathan Cohen and the period ensemble Arcangelo supply an energetic accompaniment that gives the music vigor and interest. Hyperion's vibrant recording places Ibragimova front and center, so her playing is always the focal point, though the ear is often drawn to details in the orchestra and the continuo part, which features the refreshing timbres of a lute.
Johann Sebastian BACH (1685-1750)
Violin Concerto in a minor, BWV1041 [12:17]
Violin Concerto in E, BWV1042 [14:55]
Violin Concerto in A, BWV1055R [13:11]
Violin Concerto in g minor, BWV1056R [9:01]
Violin Concerto in d minor, BWV1052R [19:27]
Alina Ibragimova (violin)
rec. Henry Wood Hall, London, 8-10 August, 2014. DDD.
HYPERION CDA68068 [68:51]
Reviewed as 24-bit download from hyperion-records.co.uk, with pdf booklet. Also available in mp3 and 16-bit and on CD.
Alina Ibragimova already has a very fine recording of the reconstructed Concerto for violin and oboe, BWV1060R, to her credit (with Alexei Ogrintchouk (oboe), together with other reconstructed Bach oboe concertos, BIS-SACD-1769 – review). She has also recorded the solo violin sonatas and partitas for Hyperion (CDA67691/2) and she wowed the 2015 Proms audience with these solo pieces and appeared there in a matinée with Apollo’s Fire in BWV1042 (see below).
Now she offers the two secure Bach violin concertos together with some credible reconstructions, from the keyboard concertos Nos. 1, 4 and 5. Though at least two of these were probably intended originally for the oboe or oboe d’amore, let me say at the outset that I enjoyed her recordings of all the concertos very much. Were there not such very strong competition I might well have made this a Recording of the Month.
The nearest competition for this programme comes from Giuliano Carmignola and Concerto Köln, a recording which Michael Cookson thought stunning and in a class of its own (with the two-violin concerto, BWV1043, in place of BWV1055, DG Archiv 4792695 – review). I liked that Carmignola recording too (Download News 2015/2) and though I tried a number of movements where I thought either he or Ibragimova might have the upper hand, in the final analysis it’s impossible to plump for one or the other.
Ibragimova sounds a little less hectic at times than Carmignola, but their tempi are not hugely different and he never overdoes what DG describe as Bach all’ Italiana. She actually takes the allegro assai finale of BWV1042 ten seconds faster even than he does, which is not to say that I thought either of them unduly fast here or elsewhere. Reviewing her Proms performance of that concerto, with Apollo’s Fire, Claire Seymour thought it ‘a … natural fit for Ibragimova’s temperament, [giving] … an unwaveringly tasteful and charming performance. The Affetuoso in particular struck a heart-chord: playing without vibrato … the violinist dared to withdraw her sound to the very barest sliver of silver, which made the resurgence of warmth in the dancing triplets of the Allegro assai even more refreshing.’ (review).
Ibragimova sounds fairly forward on Hyperion, so that ‘barest sliver’ comes over a little louder than seems to have been the case in the flesh, but her playing in the slow movement remains very sensitive indeed and the finale is just as refreshing as it was live. Carmignola takes almost a minute longer over the slow movement of BWV1042 without ever sounding as if he is milking the sentiment unduly and though he takes a few second longer over the finale, he also captures the dancing quality of that movement.
The same high standard is maintained in the a-minor concerto, BWV1041. I can’t claim to have heard all the available versions – there are over 140 in the current UK catalogue – but this is without question one of the best of the many recordings of this work that I do know.
Nor is there anything to choose between the two accompanying ensembles, Arcangelo and Concerto Köln, including their sizes: seven violins, two violas and cellos, etc., each. Both recordings come with informative booklets, though Hyperion perhaps has the advantage in that respect.
The 24/96 download to which I listened produces a very natural sound but the CD and the 16-bit should also sound fine. On the day when I downloaded this album and one other my ISP provider seems to have thrown some gremlins into the works. Two tracks, together with one from the other recording, emerged with small but annoying glitches: the answer is to download the offending tracks again individually, carefully rename them as per the offenders and delete the originals.
With two very fine baroque violinists in Carmignola and Ibragimova offering very similar programmes, the slight difference in programming could be a decisive factor. If your collection is lacking a version of the two-violin concerto, BWV1043, that may give Carmignola, with Mayumi Hirasaki as second violin, the advantage. If, however, you already have a good recording of the double concerto, BWV1055 sounds very convincing in this very well performed reconstruction.
01. Bach: Violin Concerto In A Minor, BWV 1041 - 1. Allegro Moderato 3:44
02. Bach: Violin Concerto In A Minor, BWV 1041 - 2. Andante 5:17
03. Bach: Violin Concerto In A Minor, BWV 1041 - 3. Allegro Assai 3:19
04. Bach: Violin Concerto In E, BWV 1042 - 1. Allegro 7:03
05. Bach: Violin Concerto In E, BWV 1042 - 2. Adagio 5:28
06. Bach: Violin Concerto In E, BWV 1042 - 3. Allegro Assai 2:26
07. Bach: Violin Concerto In A, BWV 1055 - 1. Allegro 4:06
08. Bach: Violin Concerto In A, BWV 1055 - 2. Larghetto 5:17
09. Bach: Violin Concerto In A, BWV 1055 - 3. Allegro Ma Non Tanto 3:49
10. Bach: Violin Concerto In G Minor, BWV 1056 - 1. Allegro 3:06
11. Bach: Violin Concerto In G Minor, BWV 1056 - 2. Adagio 2:34
12. Bach: Violin Concerto In G Minor, BWV 1056 - 3. Presto 3:23
13. Bach: Violin Concerto In D Minor, BWV 1052 - 1. Allegro 6:56
14. Bach: Violin Concerto In D Minor, BWV 1052 - 2. Adagio 5:33
15. Bach: Violin Concerto In D Minor, BWV 1052 - 3. Allegro 7:01